Relevant bibliographies by topics / Merengue (Dance) in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Merengue (Dance) in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Merengue (Dance) in art"

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Gonzalez, Anita. "Mambo and the Maya." Dance Research Journal 36, no. 1 (2004): 131–45. http://dx.doi.org/10.1017/s0149767700007609.

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This essay is a descriptive analysis of a 2000 encounter with Mayan “mambo” dancing in a mountain community, an encounter that challenges assumptions about prevalent notions of exoticism, identity, and cultural authenticity. Traveling in Guatemala with a group of international scholars, I witnessed a public performance of the transnational mambo by costumed Guatemalans that was not mambo, not Mayan, and not social. Male performers, in celebration of Corpus Christi, dressed as Disney-style costume characters and executed routines to merengue music while nondancing participants watched the spectacle. This contradictory display of dancing encouraged me to reflect on the impact of popular social dance and to examine the complicated meanings communicated by performers who incorporate body-based art into indigenous social and economic paradigms. The performers' unique interpretation of mambo dance within the context of a public Corpus Christi festival underscored discrepancies between institutional perceptions of the mambo and the popular reuse of dance motifs. At the same time, the performance, which used clowning as a mechanism to engage the audience, inverted the solemnity of the religious feast day.
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Moss, Suzan. "Learning from Latina Students: Modern Dance Meets Salsa and Merengue." Journal of Physical Education, Recreation & Dance 71, no. 3 (March 2000): 39–42. http://dx.doi.org/10.1080/07303084.2000.10605111.

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Rogoff, Jay. "Dance as High Art, Dance as Broad Art." Hopkins Review 6, no. 1 (2013): 113–17. http://dx.doi.org/10.1353/thr.2013.0012.

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Rodrigues Costa, Camila, Ana Paula Leite de Souza, and Matheus Augusto Mendes Amparo. "ANÁLISE DOS BENEFÍCIOS DA DANÇA PARA A QUALIDADE DE VIDA DE IDOSOS MORADORES DE UMA INSTITUIÇÃO DE LONGA PERMANÊNCIA." Colloquium Vitae 10, Especial 5 (December 1, 2018): 125–34. http://dx.doi.org/10.5747/cv.2018.v10.nesp5.000343.

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The objective of this study was to analyze the influence of a dance program on the quality of life of elderly people living in a long-stay institution located in the interior of the State of São Paulo. This is an action research. Nine elderly, aged between 63 and 93 years, of both sexes, participated in the study. The Quality of Life Questionnaire - SF-36 was applied. Subsequently, the interventions were initiated, through the dance (zumba) from the rhythms: Salsa, Cumbia, Merengue, Reggaeton, twice a week. After two months of intervention, the questionnaire was reapplied. The data were analyzed from the parameters for quality of life classification in which zero corresponds to a poor rating and 100 to an excellent rating. There was an improvement in general health and social aspects. It is concluded that a dance program can contribute to the improvement in the quality of life of elderly people living in a long-term institution.
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Martinez, Santos F. "Dance is Art." Physical Medicine and Rehabilitation Clinics of North America 32, no. 1 (February 2021): xiii. http://dx.doi.org/10.1016/j.pmr.2020.09.012.

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Carter, Curtis L., and Betty Redfern. "Dance, Art, and Aesthetics." Dance Research Journal 22, no. 2 (1990): 33. http://dx.doi.org/10.2307/1477784.

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Challis, Chris, and Betty Redfern. "Dance, Art and Education." British Journal of Educational Studies 33, no. 1 (February 1985): 106. http://dx.doi.org/10.2307/3121188.

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Balbim, Guilherme M., Susan Aguinaga, Isabela G. Marques, Jacqueline Guzman, David X. Marquez, and Priscilla Vasquez. "MIDDLE-AGED AND OLDER LATINOS’ SATISFACTION OF BAILAMOS LATIN DANCE PROGRAM." Innovation in Aging 3, Supplement_1 (November 2019): S714. http://dx.doi.org/10.1093/geroni/igz038.2620.

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Abstract Older Latinos engage in low levels of leisure-time physical activity (LTPA). Dance is a culturally appropriate activity which can be used to increase LTPA levels. We examined middle-aged and older Latinos’ satisfaction with the revised BAILAMOS Latin dance program. Healthy and low actives middle-aged and older Latinos (Mage = 64.89±7.08) were randomized to a 4-month dance program (n=167) or health education (n=166). The dance program consisted of four Latin dance styles (Merengue, Bachata, Cha Cha Cha, and Salsa). Classes were held twice a week for one hour. A total of 113 participants completed the program. Participants completed a program evaluation about the 4-months program regarding time, duration, settings, instructor, and overall satisfaction. Items were evaluated on a 1 (strongly disagree/very bad) to 4 (strongly agree/excellent) Likert agreement scale. A total of 73 participants evaluated the 4-month dance program. Participants evaluated the program adequacy agreeing or strongly agreeing as far: time, duration and setting (96-98%); instructor’s enthusiasm, quality of instructions, and eager to help (96-100%); dance program’s progression and enjoyment (93-96%); difficulty level (59%). Participants reported they intended to keep dancing by themselves (93%) and would recommend the program to friends and family (98%). Many participants (88%) reported feeling physically excellent or good as a result of the program, 95% found the program excellent or good, and 100% thought the program was worth their time. Overall, the BAILAMOS program evaluation demonstrated high participants’ acceptability and satisfaction. Those results can promote sustained LTPA and provide initial evidence to translation into community settings.
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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (November 29, 2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.

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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relationship is a process where an "alliance" is created: a process in which the doctor adapts to the rhythm of the patient and little by little can help him move towards healthier scenarios; that is, detect "what dance the patient dances and like a good dancer, take a step back, another forward, dancing and pacing with the patient. But there is not a single type of "good" or "adequate" doctor-patient relationship; there is not "a single dance that the patient dances". If "the doctor has to dance with the patient", he has to know that there are many types of dance! The doctor will have to dance dances such as Cha-Cha (which has to be slow or very fast to dance), the Mambo (where the music is faster and the rhythm more complicated - the relationship with an urgent patient); the Merengue (which is danced like walking - informal doctor-patient relationship); el Pasodoble (that you have to dance with a haughty air, but not with rigidity -synchronizing assertiveness and empathy); The Salsa (where you have to learn the basic step separately - discontinuity of the doctor-patient relationship), among others.
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Tomko, Linda J., Il Ballarino, Julia Sutton, Johannes Holub, Le Gratie d'amore, and Danzas Antiguas. "The Art of Renaissance Dance." Notes 51, no. 3 (March 1995): 1004. http://dx.doi.org/10.2307/899332.

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Dissertations / Theses on the topic "Merengue (Dance) in art"

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Trotter, Cala A. "Tap Dance: The Lost Art Form Regained." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275769569.

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Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.

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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.
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Isbister, Vianna. "The Art and Craft of Aerial Dance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/558.

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The Art and Craft of Aerial Dance discusses my personal experiences training and performing aerial dance, along with my study of safe practices in aerial rigging. My journey as a Theatre and Dance Honors-In-Discipline Scholar at East Tennessee State University from 2016-2020, culminated with my senior thesis capstone performance at Azure Aerial Arts on Friday, December 6th, 2019. This exploration into the world of aerial dance began in the spring of 2017 and has not ceased. If anything, the drive and motivation to continue pushing forward despite many obstacles continues to grow and manifest itself into new forms in my life. This drive, and my work as an intern with Night Owl Circus Arts (NOCA) at Azure Aerial Arts over the summer of 2019, propelled me to choose this topic as my final thesis because of all of my accomplishments at ETSU, this is one that I hold nearest and dearest to my heart.
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Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.

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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also presents my inspiration for the project and explains how those sources have influenced my images.
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Bresnahan, Aili. "Dance As Art: A Studio-Based Account." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173544.

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Philosophy
Ph.D.
This dissertation is an attempt to articulate the conviction, born of ten years of intensive experience in learning and practicing to be a dance performer, that the dance performer, through collaboration with the choreographer, makes an important contribution to how we can and do understand artistic dance performance. Further, this contribution involves on-the-fly-thinking-while-doing in which the movement of the dancer's body is run through by consciousness. Some of this activity of "consciousness" in movement may not be part of the deliberative mentality of which the agent is aware; it may instead be something that is part of our body's natural and acquired plan for how to move in the world that is shaped by years of artistic and cultural training and practice. The result is a qualitative and visceral performance that can, although need not, be a representation of some deliberative thought or intention that a dancer can articulate beforehand. It is also the sort of thinking movement that in many cases can be conceived as expression; an utterance of dance artists that is not limited to the communication of emotion that can be appreciated and understood, at least in principle, by a public or audience. What this means for the Philosophy of Dance as Art includes the following: 1) there may not always be a stable, fixed "work" of dance art that can be identified, going forward, as the only relevant work on which critical and philosophical attention should be focused because of variable, contingent and irreducibly individual features of live dance performances, attributable in large part to the efforts, style and improvisation of particular dance performers; 2) the experience of dance artists is relevant to understand dance as art because experiential evidence of practice can supplement and ground the appreciable properties that we can detect in artistic dance performances; 3) artistic dance performance can be conceived as expression without being expressive of either an artist's felt emotion or of human emotion in general - no particular content is needed as long as there is a content; 4) artistic dance performance conceived as expression can, but need not, function as representation in both the strong (imitative) and weak (referential) sense; and 5) artistic dance performance is real, not illusory and not necessarily either a transformation or transfiguration of the real. Dance as art, like theatre, like music and even, perhaps, like painting, sculpture and architecture, although in less clearly artist-present, extemporaneous and embodied ways, is human-constructed, human-understood, human-driven and a full, rich, interactive and meaningful part of human life.
Temple University--Theses
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Eslamboli, Leila. "Shall we dance? : a study of the art of dance and social responsibility." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81486.

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The discussion over whether arts education has an impact on social responsibility has been an interesting field of investigation in the educational realm. Although there still remains a dearth of information surrounding this issue, past research in the field has shed light on the importance of art and aesthetic education. Building upon prior research, this study offers a critical investigation into issues linking social responsibility and arts and aesthetic education. At the core of this study, through the use of a phenomenological framework, insight was offered into whether students' perceptions of a dance program in one British Columbia school assisted them in constructing a more advanced notion of their role in social responsibility. The overall results suggest that the participants believe that the dance program has assisted them in understanding and fulfilling their role in being socially responsible.
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Aydin, Jaynie. "Aisha Ali and the art of presenting dance on film an ethnochorelogical approach /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383469921&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Clement, Jennifer. "Reforming Dance Pedagogy: A Feminist Perspective on the Art of Performance and Dance Education." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002197.

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Kise, Laura Ann. "Performance Art as Sublimation: The Case of Dance." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/353.

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AN ABSTRACT OF THE THESIS OF LAURA A. KISE, for the Master of Arts degree in CLINICAL PSYCHOLOGY, presented on April 14, 2010, at Southern Illinois University Carbondale. TITLE: PERFORMANCE ART AS SUBLIMATION: THE CASE OF DANCE MAJOR PROFESSOR: Dr. Stephen Dollinger Creativity and sublimation have been linked throughout the theoretical literature on psychological defense, especially in relation to artistic creativity. As a performance art, dance has been included as a creative form in one of the commonly used measures of creative accomplishments. These links suggest the possibility that dance and sublimation may be related. The purpose of this study was to determine whether dancers endorsed sublimation more than did non-dancers. Participants consisted of 126 female participants recruited from two psychology courses and a university dance company. They completed a questionnaire about level of involvement in dance, Hocevar's Creative Behavior Inventory (including a number of dance items), and the Defense Styles Questionnaire with additional sublimation items (modeled after the sublimation item already in the DSQ) embedded within it. Results indicated that sublimation was a significant predictor of dance, as was SES. SES had a curvilinear relationship with dance such that those identified as well-off were most likely to dance. Four of the six individual sublimation items correlated significantly with dance. Particular motivations to dance also correlated significantly with sublimation and dance. Dance correlated with some of the other CBI creativity scales, but not all, suggesting domain specificity.
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Castillo, Iris Margot. "The dance is in the dancer as the dancer is in the dance /." Online version of thesis, 1996. http://hdl.handle.net/1850/12236.

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Books on the topic "Merengue (Dance) in art"

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1967-, Venegas Camilo, Centro Cultural Eduardo León Jimenes, and Museo Bellapart, eds. Que no me quiten lo pintao: Los códigos visuales del merengue. Santiago de los Caballeros, República Dominicana: Centro León, Centro Cultural Eduardo León Jimenes, 2005.

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Castillo, José del. Antología del merengue =: Anthology of the merengue. Santo Domingo, República Dominicana: Banco Antillano, 1989.

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Por los caminos del merengue. [Santo Domingo, República Dominicana?]: Fundación V República, 2010.

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Austerlitz, Paul. Merengue: Dominican music and Dominican identity. Philadelphia, Pa: Temple University Press, 1997.

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Fouchard, Jean. La méringue: Danse nationale d'Haïti. Port-au-Prince, Haïti: H. Deschamps, 1988.

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Fouchard, Jean. La méringue: Danse nationale d'Haïti. Port-au-Prince, Haïti: H. Deschamps, 1988.

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El merengue y la realidad existencial del hombre dominicano. [Santo Domingo, Dominican Republic]: Editora Universitaria, 1987.

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Rafael, Solano, ed. El merengue: Música y baile de la República Dominicana. Santo Domingo, República Dominicana: Verizon, 2005.

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Ureña, Luis Manuel Brito. El merengue y la realidad existencial de los dominicanos: Bachata y nueva cancion. [Santo Domingo, Dominican Republic]: Unigraf, 1997.

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The art of dance. Boston: Little, Brown, 1989.

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Book chapters on the topic "Merengue (Dance) in art"

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Hiremath, Sandesh, Stefanie Sonner, Christina Surulescu, and Anna Zhigun. "Acidic Dance." In The Art of Theoretical Biology, 84–85. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33471-0_42.

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Darkin, Christian, Chris James Hewitt, Joost Korngold, Mark Towse, Peter Reynolds, Simon Tyszko, and Jon Bounds. "Video Art, Let’s Dance." In After Effects Most Wanted, 49–82. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-5149-1_4.

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Reynolds, Dee. "Hearing touch and the art of kinaesthetic crossmodality." In Music-Dance, 222–34. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-14.

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Kim, Yong-Jung. "Dance with Predators and Prey." In The Art of Theoretical Biology, 52–53. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33471-0_26.

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Amans, Diane. "Lesson Evaluation — Take Art." In An Introduction to Community Dance Practice, 229–30. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-05623-8_33.

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LaViers, Amy, Lori Teague, and Magnus Egerstedt. "Style-Based Robotic Motion in Contemporary Dance Performance." In Controls and Art, 205–29. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-03904-6_9.

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Crawley, Marie-Louise, Katerina Paramana, Imogen Racz, and Sarah Whatley. "Introduction." In Art and Dance in Dialogue, 1–15. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44085-5_1.

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Lally, Sophie. "Red Ladies: Walking, Remembering, Transforming." In Art and Dance in Dialogue, 163–77. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44085-5_10.

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Bory, Alison. "A Dance After All Hell Broke Loose: Mourning as “Quiet” in Ralph Lemon’s How Can You Stay in the House All Day and Not Go Anywhere?" In Art and Dance in Dialogue, 179–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44085-5_11.

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Tomić-Vajagić, Tamara. "Theatre as FOMO: Metonymic Spaces of William Forsythe’s KAMMER/KAMMER." In Art and Dance in Dialogue, 197–223. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44085-5_12.

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Conference papers on the topic "Merengue (Dance) in art"

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Kawaguchi, Yoichiro. "Gemon Dance." In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179081.

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Churchill, Steven. "Sea dance." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.313073.

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Crandall, C. Alan. "Spirit dance." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281999.

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Hertzson, Joyce. "The dance." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312459.

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Despain, Daniel. "The twilight dance." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312423.

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Yuan, Rulin. "The Innovation of Dance Art Communication in TV Dance Program." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.048.

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Ni Nyoman, Wahyuni, Ni Nyoman Seriati, and Trie Wahyuni. "Reinterpretation of Traditional Dance through Contemporary Dance." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.45.

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Amanuradova, S. C. "Inexhaustible source of uzbek dance art." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-3-7.

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Zeng, Li, and Huabing Zhou. "The Dance Morphological Characteristics of Wuyuan Nuo Dance." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.21.

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"The Role of Installation Art in Dance." In 2020 Conference on Educational Science and Educational Skills. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000693.

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